A Cylindrical Model of Communication Behavior in Crisis Negotiations

This article integrates existing theoretical perspectives on message content and negotiator motivation to formulate a comprehensive definitional model of the interrelationships among communication behaviors in crisis negotiation. A sample of 189 nuclear dialogue spans were transcribed from 9 resolved cases of hostage negotiation and each utterance coded at the level of thought units across 41 behavioral variables. Results of a nonmetric, multidimensional scaling solution provided clear support for the hypothesized cylindrical structure of communication behavior, revealing 3 dominant levels of suspect‐negotiator interaction (Avoidance, Distributive, Integrative). At each level of the structure, interactions were found to modulate around 3 thematic styles of communication (Identity, Instrumental, Relational), which reflected the underlying motivational emphasis of individuals' dialogue. Finally, the intensity of communication was found to play a polarizing role in the cylinder, with intense, functionally discrete behaviors occurring toward the boundary of the structure.     

CHILDREN'S PERCEPTIONS OF CHANGES IN SIZE OF TELEVISED IMAGES

Using a Piagétan perspective, this study investigated the ways in which elementary school children perceive changes in the size of a televised image (in this case, a candy bar). The findings suggest that younger children perceive changes in image size from a medium shot to a close-up as changes in the object itself. Children's responses to changes in the televised image parallel their responses to traditional conservation tasks, but conservation of televised images occurs at a later age. In addition, children appear to use different cognitive skills to interpret how a zoom or a cut transforms the size of a televised image. When a zoom is used, children more readily perceive the object as “growing larger.”     

The roles of handedness and stimulus asymmetry in aesthetic preference.

When some pictures are mirror reversed, aesthetic evaluations of them change dramatically. Stimulus features that may be important in contributing to this effect are: (a) location of areas of principal interest or weight in the picture space, (b) cues that suggest a direction of motion within the picture. Dextrals and inverted sinistrals preferred paintings with cues suggesting motion proceeding from left to right over their mirror-reversed versions and also preferred those with weight concentrated in the left portions of the picture space. The explanation that best fits these data is that preference is promoted when the picture content encourages attention to its rightmost portions, thus placing a majority of the picture in the left visual field where it is directly processed by the right hemisphere.